Who Invented the Little Black Dress? | Mental Floss Who Invented the Little Black Dress? ThinkStock Like us on Facebook The “little black dress,” quintessential staple of any woman’s wardrobe, isn’t as timeless as most people think. An LBD is a classic in that it’s neither a trend nor is it ever out of fashion, but its history is a surprisingly short one, dating back only about a century to the early 1900s. While history tends to credit French designer Coco Chanel with popularizing the design, the question of who came up with the little black dress first is a little more complicated than that. As hard as it is to believe today—when black clothing is the neutral, flattering norm, and the latest fashion is credited as “the new black”—dark-colored garments were hardly a stylish society woman’s first choice years ago. Through the 1800s, black clothing was associated with mourning dress; in previous centuries, it was a symbol of luxury, as only the wealthy could afford costly black dye for their garments.

Public perception gradually changed as history’s fashionistas realized that black was not only a practical choice that did not show stains or spills, but also a stylish one that offset their expensive accessories to good advantage. By the time Coco Chanel came into the equation in the 1920s, black dresses of all shapes and sizes were already quite popular all on their own. The specific little black dress so famously associated with Chanel appeared in a 1926 issue of Vogue, a simple, calf-length design shown with a plain string of pearls that was distinct in its contrast to the heavily embellished flapper styles that were popular at the time. The magazine called it “Chanel’s Ford”—referring to Henry Ford’s Model T car, the standard for all automobiles to come—and predicted its role as “a sort of uniform for all women of taste.” A 1930 issue of Vogue later featured another black Chanel dress, made of sheer black lace with a matching capelet, which served to double down on the public perception of Coco Chanel having invented the fashion. However, designers like Edward Molyneux were simultaneously promoting their own, similar fashions, just without Vogue’s endorsement.

Perhaps the most iconic little black dress of all is a work of the 1960s: Audrey Hepburn famously wore a little black Givenchy dress as Holly Golightly in the opening scene of Breakfast at Tiffany’s, the movie that spawned a million Halloween costumes. That level of exposure may have truly cemented the little black dress as a cultural touchstone, so much so that we’ve turned it into an acronym: LBD, which has been included in the official Oxford Dictionary of English since 2010. The Colorful History of the Little Black Dress - The New York Times The New York Times Fashion & Style |The Colorful History of the Little Black Dress Search Continue reading the main story Photo From left, Valentino, beaded silk-satin slip dress; Carolina Herrera, silk faille and organza halter dress; Yves Saint Laurent, lace with mousseline de soie lining, ankle-length evening dress; Ulyana Sergeenko, long silk peplum dress; Chanel, silk, Chantilly lace and cotton organza robe de style; and Oscar de la Renta, silk shirt and silk taffeta flounced skirt.

Credit Adam Kuehl/SCAD PARIS — The little black dress is an iconic French invention, right? Created nearly a century ago by Coco Chanel as emblematic of Gallic chic and worn by Edith Piaf as she sang about love and loss, the dress did make it to America, perhaps most notably as Audrey Hepburn’s costume in the 1961 movie “Breakfast at Tiffany’s.” But that dress was, of course, made by the Paris couturier Hubert de Givenchy. So it may come as a surprise in “Little Black Dress,” an intriguing exhibition in Paris at the Mona Bismarck American Center for Art & Culture (until Sept. 22) to encounter first a black lace dress worn by the American designer Marc Jacobs to the 2012 Metropolitan Museum gala by the Japanese designer Rei Kawakubo of Comme des Garçons and a sleek dinner dress, worn by the artist Rachel Feinstein, made by Mr. Jacobs.

Created at the Savannah College of Art and Design (SCAD) in Georgia, the exhibition pits a framed Karl Lagerfeld example of the classic black Chanel dress, as worn by Anna Wintour , the editor-in-chief of American Vogue, against the feisty cutaway Latex dress by Norma Kamali, or even a body-revealing lace and jet-beading creation from Tom Ford. The man behind the artistic organization of textures, shapes and nuances of shades, all shown against sanguine red walls, is André Leon Talley. Long known as a contributing editor at American Vogue and now an editor-at-large for the Russian version of Numéro magazine, Mr. Leon Talley used his connections with high society to enrich the collection that opened in in 2011 at the SCAD Museum of Art in Savannah. Continue reading the main story And Mr. Leon Talley has no doubts about the power of the little black dress after years of attending haute couture shows and advising socialites like Anne Bass, a benefactor of the New York City Ballet, as well as famous names from Alicia Keys through Gwyneth Paltrow, Diana Ross, Serena and Venus Williams and Renée Zellweger.

Advertisement Continue reading the main story This collection is far more than an homage to past grandeur. “In every moment my desire was to establish an invisible dialogue or narrative between dress, showcasing variety and how women thought of the little black dress,” Mr. Leon Talley said. He chose a Chanel coatdress from Gloria von Thurn und Taxis and decided to face off a Galliano slip dress and a black Fortuny column that he says, is “as modern today as it must have been when it was designed circa 1907.” That piece came as part of a donation to SCAD of the entire wardrobe of the socialite C.Z. Guest. The lore of the little black dress is that it made its name in 1926, when an American Vogue illustration aligned Chanel’s creation with the any-color-as-long-as-it-is-black model-T Ford car. Since the much-married social adventuress Mona Bismarck was the first woman in the world to head a “Best Dressed” list in 1933, it seems appropriate that the exhibition is in her former Paris home on the Avenue de New York.

And that the mannequins grouped in back and front positions (the better to display a subtle plunge down the spine) emulate guests at a grand party. Mr. Leon Talley links this rearview focus to a moment at his high school senior prom, when the homecoming queen asked him, between dances, to powder her bared back, thus giving him a first frisson of the spine as an erotic zone. Throughout the show there are subtle touches, as a lofty Madame Grès dress from 1977 is blown into movement by a tiny electric fan, with the back, once again, challenging the “monastic” look. Photo Chado Ralph Rucci, silk dress with chenille embroidery. Credit Adam Kuehl/SCAD In the final room of the show, the models sit elegantly on couches in front of a gilded mirror, with just a single cascade of Oscar de la Renta’s red frills signing off with bravura the intensity of black. Mr. Leon Talley said he imagined a ball in Venice with the ladies gossiping as they waited to be asked to dance.

And the donors’ names alone transport the clothes to another world: a 1962 Chanel dress from Baronne Béatrice de Rothschild; or a lace Yves Saint Laurent dress donated by the longtime front-row fixture Deeda Blair. But the show is not entirely given over to studied elegance or a world as charming and glamorous as it is definitively over. Advertisement Continue reading the main story There are hyper-modern dresses, like the American designer Prabal Gurung’s plunge-front gown, Diane Von Furstenburg’s synthetic lamé wrap dress and a Neoprene zip-front design from the SCAD graduate Alexis Asplundh. “I think Americans take more freedom with it — with more energy put into young designers, there is a tilt toward America in the show,” says Molly Rowe, director of Creative Initiatives at SCAD. Although one senses that Mr. Leon Talley’s heart is in Paris haute couture, there are various modern American gowns, including classic dresses from Rodarte. Azzedine Alaïa’s zippered short dress, metal chains swinging over a bifurcated dress from the Nicolas Ghesquière years at Balenciaga and Stella McCartney’s cutaway dress all offer fresh takes.

“The little black dress is something to rely on — to fill you with confidence and ease,” says Ms. McCartney in the text of the accompanying book, published by Rizzoli. So is the little black dress the last haven for a conventional dresser, or an opportunity to add a jolt of imagination to a classic? The answer in this exhibition is both. It is as though the classic pieces from Cristóbal Balenciaga or Yves Saint Laurent are still the center of a fashion world where imagination in fabric, cut and the way the dress is worn add that extra jolt. Miuccia Prada expresses the reality of timeless yet contemporary fashion, when she says in the book: “To me, designing a little black dress is trying to express in a simple, banal object, a great complexity about women, aesthetics, and current times.” Correction: August 5, 2013 An earlier version of this article misspelled Molly Rowe’s surname. A version of this article appears in print on August 6, 2013, in The International Herald Tribune. Order Reprints | Today's Paper | Subscribe Who invented the little black dress?

- Quora Quora Written Apr 25, 2015 There were always little black dresses, but it was Coco Chanel who said that every woman must have one that she could take everywhere! The original drawing was shown in Vogue magazine. It was a simple black crepe-de-chine sheath with long sleeves and the long loops of pearls that were popular at the time. It could be belted or left loose at the waist. The dress that Chanel envisioned was simple (so inexpensive), could be worn by women with a wide varity of body shape, modest, easy to wear (not too tight!) and suitable for just about any occasion short of the formal ballroom. The one dress to rule them all, as she proposed. I came to the same realization myself, independently. I bought a black wool wrap-around (from Icebreaker) to take traveling with me to Europe and have had plenty of occasions to use it since. It's a knit, so it packs up easily and comes out without a wrinkle. The light wool is a joy to wear in both summer and winter. (Icebreaker doesn't seem to carry it any more, which is a real shame.

I think it was called Roma, but mine does not have long sleeves.) In Chanel's vision, the dress was not "little" in the sense of being skimpy or revealing. It was little in the sense of being plain and cut very simply, without a lot of embellishing ruffles or extra flourishes, and made of a slightly textured fabric but again the cloth was not flashy or showy. The essence of the little black dress is its versatility. You can wear it to the races, to have tea with the Queen, or to meet your lover at the cafe. You just change your shoes, hat and jewelry to suit the occasion. Written Mar 12, 2016 If you are looking for black dresses online Fzillion is the place to look. Fzillion offers several little black dresses online for any budget. Paired with the right pair of shoes, bag, and accessories you can pull off a custom look without spending too much this holiday season all in one place. With Fzillion’s affordable prices you can find some amazing cheap little black dresses perfect for the holiday parties you plan to attend and dress up for this month.

When considering the benefits of owning a little black dress as part of your seasonal color scheme, it only makes sense. In fact, if you don’t have a little black dress as part of your attire you may come off as being a dull older woman with no sense of mystery and sophistication that many people think of women in a little black dress. Let’s face it, it takes several hours of shopping, accessorising, and planning on where to wear your brightly colorer and festive dresses. However, if you are pressed for time, caught off guard, or just aren’t sure what to wear, a little black dress goes with anything! Do you have a pair of emerald green shoes you just don’t have a dress to match? You’re in luck with the holidays coming up! Pair those shoes with your cheap little black dress, a pair of matching earrings and you have the perfect ensemble for nearly any holiday event. A little on the larger side? Black is slimming and you can find a little black dress for curvy women on Fzillion . Diane von Furstenberg, Hatch, and Black Halo offer stunning black dresses online for any occasion.

You can find short sleeve, long sleeve, below the knee, above the knee, long flowing dresses and tunics to fit your budget. Catch some of these amazing dresses from the mentioned designers and more in sizes ranging from 0 to 14. Learn More: Fzillion, Inc. [1] Footnotes speakfashion.us Fashion History Classics: Who invented the Little Black Dress (LBD)? Fashion History Classics: Who invented the Little Black Dress (LBD)? Coco Chanel was a style icon and trendsetter in the 20th century. In 1926 she invented the ‘ little black dress ‘ aka LBD . A convenient evening dress for women, which could be easily dressed up with certain accessories for more fancy occasions.What started as a revolution in the mid-twenties of the prior century was going to become a Classic within the next eight decades. Although it has its up’s and down’s the little black dress still remains an essential piece in designer-collections nowadays.

Eventually, in 2011 this classic piece of modern fashion celebrates its 85th anniversary.At the time of its invention Vogue Magazine called the dress ‘Chanel’s Ford’ and predicted that the dress would be find its place as kind of a uniform for upcoming generations. This certainly became true during the next couple of decades. The classic made its point especially during the bad times of the Great Depression and World War II, where it became literally a uniform for civilian women entering the workforce. While the dress still remained as a uniform during the 50s it changed its purpose completely during the following century, addressing a much younger and open minded audience by shortening the skirt to the limit. Although the seventies were dominated by its very flowery mood lots of designers kept the cut of the little black dress in their designs. The popularity of casual fabrics for dresses and business wear during the 80s brought the piece back on track. A twisted style in the early 90s pumped it finally up into a new era. Now it was worn even with combat boots or sandals and reached out to a new target group.

Only this very winding evolvement pushed the little black dress to the top-level of fashion and made it the thing Vogue Magazine already had been predicted it would be: A timeless Classic. The video below shows Coco Chanel’s most famous inventions – “The Chanel Costume” and of course “The Little Black Dress (LBD)”: Related Articles: Coco Chanel Dress ~ The Story of Chanel Little Black Dress | Fashion & Style Guru Fashion & Style Guru ~ Some people think luxury is the opposite of poverty. It is not. It is the opposite of vulgarity. Coco Chanel Search: ≈ 19 Comments Tags All the famous innovations in fashion and design cannot outshine the fame of the single Chanel Little Black Dress. Coco Chanel introduced it in a time between the wars, when the bright colors, prints and heavy embroideries dominated the fashion. Coco Chanel with photographer Cecil Beaton The long-sleeved black dress, which was initially made for day in wool, and for evening in crepe, satin or velvet, shook up the world of fashion.

Later appeared the other variations of a little black dress: short, sleeveless, in a pleated black chiffon, in black lace… In 1926 American Vogue named Coco Chanel black dress “a Ford”, meaning it’s simplicity and it’s potential for an enormous and long-lasting success. It was the little black dress of Chanel, that inspired the famous remark of her competitor Paul Poiret: “What has Chanel invented? De luxe poverty.” The Chanel little black dress became a symbol of chic and sophisticated simplicity. Audrey Hepburn with LBD (Givenchy) The famous women wearing Coco Chanel Little Black Dress: Lady Diana Marilyn Monroe Cocktail dress During the 1920s, newfound concepts of individuality and a repudiation of the Edwardian matronly ideal of respectable womanhood gave rise to the new phenomenon of the “Drinking Woman,” who dared to enjoy cocktails in mixed company . She emerged at private cocktail soirées and lounges, and the cocktail dress, as a short evening sheath with matching hat, shoes, and gloves was designated to accompany her.

Chanel cocktail dress The cocktail affair generally took place between six and eight P.M., yet by manipulating one’s accessories, the cocktail ensemble could be converted to appropriate dress for every event from three o’clock until late in the evening. Cocktail garb, by virtue of its flexibility and functionality, became the 1920s uniform for the progressive fashionable elite. Birth of the Cocktail Ensemble By the end of World War I, the French couture depended rather heavily on American clientele and to an even greater extent on American department stores that copied and promoted the French créateurs. As cocktailing had originated in the United States, the French paid less attention to the strict designations of line, cut, and length that American periodicals promoted for their heure de l’aperitif. Instead, the couturières Chanel and Vionnet created garments for the late afternoon, or “after five,” including beach pajamas—silk top and palazzo pant outfits worn with a mid-calf-length wrap jacket. Louise Boulanger produced les robes du studio, chic but rather informal sheaths that suited the hostess of private or intimate cocktail gatherings.

As the popularity of travel grew, both in American resort cities like Palm Beach, “the Millionaire’s Playground,” and abroad with the luxury of the Riviera, these French cocktail garments gained favor in wealthy American circles. But while America’s elite were promoting the exclusive designs of the French couture, the majority of the United States relied on the advertisements of Vanity Fair and American Vogue, as well as their patronage of American department stores to dress for the cocktail hour. Created by Chanel in 1926, the little black dress was translated to ready-to-wear as a staple of late afternoon and cocktail hours; American women at every level of consumption knew the importance of a practical “Well-mannered Black”. Mid-1920s skirt lengths were just below the knee for all hours and affairs. Though cocktail attire featured the longer sleeves, modest necklines, and sparse ornamentation of daytime clothing, it became distinguished by executions in evening silk failles or satins, rather than wool crepes or gabardines. Often the only difference between a day dress and a cocktail outfit was a fabric noir and a stylish cocktail hat.

Hats in the 1920s varied little from the cloche shape, but cocktail and evening models were adorned with plumes, rhinestones, and beaded embroideries that indicated a more formal aesthetic. Short gloves were worn universally for cocktail attire during this period and could be found in many colors, though white and black were the most popular. Share this: The History of the Little Black Dress | Fashion Schools Home › Articles › The History of the Little Black Dress Find a school near you! The History of the Little Black Dress Written by FS Staff July 11, 2011 Every woman looks great wearing it, and every woman has her own. It is the default date ensemble when it is one of those "I have nothing to wear" days. In fact, it is so popular, so necessary, and so much an institution in women's fashion that we had to ask: "Where did the "little black dress" come from?" To properly understand the fashion environment necessary to produce such a simplistically fabulous necessity for any wardrobe, we must visit the 1920's.

As women shed their long, layered dresses, cut their hair and enjoyed the fast-paced party life, society slowly became more accepting of women baring slightly more of her shoulders, back, and legs. The coveted silhouette of the era was generally very slender and youthful. It was during the 20's that the legendary fashion designer Gabrielle "Coco" Chanel first stitched her name into the history of women's clothing design. In fact, Chanel's designs are often considered to be the epitome of the 20's style because her work was so fresh, modern, and updated. Chanel encouraged and inspired the style we typically envision when we think of flappers. She was fond of working with neutral colors and soft easy-to-wear jersey fabrics that were simple in shape and cut. Chanel was able to infuse comfort and sophistication into fashion, and this combination was considered revolutionary. It was during her early work, that Chanel designed and introduced the first little black dress to the world. Programs to Consider: Little Rock, AR North Little Rock, AR First introduced in 1926, black was previously considered to be a color reserved for funerals and periods of mourning.

Truly simple and sexy, Chanel's design was a sleeveless sheath cut just above the knee. She could have never predicted the immediate and lasting love women would have with her simple, chic black dress. As Chanel was quoted, "Luxury must be comfortable, otherwise it is not luxury." Whether a woman's little black dress cost $50 or $2,000 her intention is the same: to look effortlessly classic and appropriately sexy in just seconds. While most of us cannot afford to buy Chanel's breathtakingly beautiful pieces, we can certainly wear our trusty black dresses with the modern, sophisticated attitude she possessed. THINK YOU HAVE WHAT IT TAKES TO DESIGN THE NEXT "LITTLE BLACK DRESS"? A Timeline of Looking Good in the Little Black Dress | Lifescript.com This article has been written by an outside contributor. It has not been reviewed by the LifeScript editorial staff for accuracy. A Timeline of Looking Good in the Little Black Dress Discover the History of the Little Black Dress By Lisa Fritscher Q&A – Help! I'm Scared I'll Lose Her Again Undoubtedly, the little black dress is considered a true icon of fashion.

From cocktail parties to black tie affairs, and punk concerts to college dorm bashes, no other clothing item is appropriate to quite so many disparate events. You probably already own one or more little black dresses, as this piece of clothing seems to have permeated the wardrobe of virtually every woman in modern society. But where did the little black dress come from? Who invented it? And how did it become a fashion basic today? As hard as it is to believe today, the little black dress was at its inception quite revolutionary. Designed by fashion maverick Coco Chanel in 1926, the little black dress broke all the rules. Black was traditionally the color of mourning. The original little black dress was made of jersey fabric, which at the time was used almost exclusively to create men’s underwear. The combination of fabric and color was quite rebellious, and yet it worked. The time was ripe for a fashion rebellion, as modernist women were tired of the rules that bound them. By 1926, Coco was already a star, having turned the fashion world on its ear with her menswear-inspired practical designs. Her iconic perfume, Chanel No.

5 had been introduced in 1922 and the famous Chanel suit in 1923. Thus, Coco was well placed to change fashion forever. The little black dress was an instant sensation. Soon Vogue magazine invented a new name for the garment, calling it the “Ford dress” since Henry Ford’s Model T was functional and fashionable, only available in black, and an instant must-have property. The black dress soared to super stardom status. Of course, it was impossible for fashionistas of the era to predict that the little black dress would remain iconic, with relatively few changes, for the next 80 years. Another famous designer, Nettie Rosenstein, invented her version of the little black dress in the early 1930s. Coco Chanel’s most famed rival, Elsa Schiaparelli, was quick to recognize the appropriateness of the little black dress, adding her own wrap version a few years later. The popularity of the three designers helped ensure the little black dress a place in history. Hollywood clients loved the simplicity of the little black dress and even the cartoon industry recognized its significance, placing Betty Boop in a shockingly short little black dress. However, war assured the dress’s staying power.

In the 1940s, most fabric went to the war effort and left very little fabric available for the buying public. The little black dress used a minimum of fabric, making it a popular alternative to frilly dresses. Additionally, the little black dress was designed to be a backdrop, a garment that could be dressed up or down as the situation demanded. This meant that one little black dress could easily take the place of four or five separate garments. As fashions changed in the post-war era, the little black dress changed to match. As a basic item, the little black dress could be altered in cut and style without significantly changing the dress itself. Full skirts, miniskirts, sleeveless designs, cap sleeves, and other trends were easily absorbed into the little black dress. Hollywood continued its love affair with the little black dress through the 1950s and 1960s, from Marilyn Monroe’s costumes in Gentlemen Prefer Blondes to Audrey Hepburn’s Breakfast at Tiffany’s dress. The little black dress fit perfectly into the mod style of the 1960s. Simplicity was in, and the little black dress returned to its roots.

A short skirted, sleeveless sheath was perfect for the era. Stars continued to wear their little black dresses to well-documented parties, and the buying public followed suit. The 1970s was a confusing time for the little black dress. Disco style was based around flashy, brightly colored costume pieces, making the little black dress less popular in mainstream culture. However, it was picked up by the subculture. Punk rock got its start in the early 1970s, leading to such spin-offs as Goth and glam rock. The punk subculture was all about rebellion against an increasingly consumerist society. Shocking fashions took root in the punk culture and as a basic item, the little black dress was a perfect outlet. Ripped, cut and safety-pinned, or made out of such nontraditional fabrics as PVC, leather and even garbage bags, the little black dress was back in a whole new way. Those who were shocked and appalled by the 1970s and 1980s punk treatment of the little black dress probably never considered the garment’s roots. The ripped and torn PVC dress was the same sort of statement of liberation as the original 1926 jersey dress.

Yet again, the little black dress was a statement of rebellion and freedom. Gradually, mainstream fashion culture began to adopt the styles of the counterculture. By the end of the 1980s, runway models began to appear in completely redesigned little black dresses. Plunging necklines, rising hemlines and strategically placed cutouts were in, along with an ever-increasing variety of fabrics. Endless redesigns remained popular throughout the 1990s. Today, the little black dress is no longer at the cutting edge. Designers have moved on to new colors, new fabrics and new styles for their latest trends. However, the little black dress is recognized as a staple item in nearly every woman’s wardrobe. Little black dresses are readily available in every price range and new twists on the old classic are periodically introduced, both on the runways and among discount lines. If you are in the market for a little black dress, it is important to keep a few things in mind. At its heart, this dress is a blank canvas. A functional little black dress is classic and simple. Diamond jewelry and designer sandals make it appropriate for a gala event, while simple pumps and a leather briefcase take the little black dress to the office.

Therefore, try to find a little black dress that is not too trendy in style. Too much detailing can cause the dress to appear dated as fashions change, while a simple dress can last for decades. The little black dress is appropriate to all body shapes and sizes. However, dresses vary widely between designs, so it is highly recommended that you try on multiple little black dresses to see which one looks best on you. Since the piece is classic and designed to last, buy the best quality that you can afford. Look for well-made and finished seams and fabric that will wear well. Above all, look for a little black dress that looks terrific on you and makes you feel great. The little black dress that you choose should look wonderful alone, with no accessories or added details whatsoever. By choosing a dress that is perfect on its own, you will have maximum freedom in utilizing the full versatility of this unique wardrobe item. The little black dress is timeless, elegant and well poised to remain a wardrobe must-have for many years to come. The little black dress has a varied and dynamic history that has led to its unique position in the market today. If you do not currently own a little black dress, consider whether purchasing one would be right for you.

What’s Your Fashion Personality? Do clothes make the woman or does the woman make the clothes? Whether you love to sew your own threads or prefer to browse Rodeo Drive, your wardrobe reflects your personality. Find out what your clothes are saying about you with our fashion quiz . Rate This Article Little Black Dress at VintageTextile.com The Little Black Dress Since Chanel introduced the "little black dress" in 1926, it has become the epitome of chic. Her first LBD was a slash-necked, short silk dress with only diagonal pin-tucks as decoration. American Vogue called it the "Ford." Like Henry Ford’s Model-T car, the LBD was an instant hit, widely available, though only in black. Chanel believed fashion should be functional as well as chic. Radically simple, her LBD was designed not to show stains and to fit every woman. It was meant as the fashion ideal: a perfectly simple, yet sexy object. To modern eyes, Chanel's original LDB may seem rather plain, perhaps too simple, at least compared to the glamorous Givenchy LDB (above) worn by Audrey Hepburn in the 1954 film Sabrina (Paramount Pictures).

Until she was seventeen in 1900, Gabrielle Chanel was educated at a convent orphanage run by nuns. It does not take a psychologist to see in Chanel's revolutionary LBD concept a subconscious affinity for the "uniform" (the nun's habit) worn by the women who had raised the penniless provincial girl. As early as 1915, Coco Chanel envisioned the LDB as the new uniform for women for afternoon and evening wear. Though apparently quite simple, these dresses showed masterful cut and proportion. She used traditional elegant materials like lace, tulle, and soft weightless silks in a newly tailored way. The LBD made women wearing anything else seem overdressed. One time at an opera gala, Chanel saw many women in the brilliant, clashing colors of Paul Poiret's new dawn. From that day Chanel, the champion of beige and neutrals, was determined to change the fashion landscape. She rejected the accusation that she was trying to impose the style of the working girl on haute couture by creating the "deluxe poor look." By the end of the 1920s, Chanel had triumphed.

Although never a brilliant designer, she was a fashion visionary, who could intuit the needs and desires of stylish women. Chanel was the first couturier to understand the most profound fashion change of the century—in the clothes she wore daily, a woman no longer had to create the impression of great wealth. Vogue summed up the designer's impact: "Chanel's silhouette, staying close to the lines of the uncorseted figure, begins to make the skirts of Lanvin look old-fashioned and Poiret too theatrical." Paul Poiret, before WWI The King of Fashion (the title of his autobiography), spent his final years in decline and debt, having been surpassed by modernist designers like Coco Chanel. She and Poiret had a chance encounter on a Paris street in 1928. Noticing that Chanel was wearing all black, Poiret inquired, "For whom, Madame, do you mourn?" To which Chanel replied, "For you, Monsieur." Before the Little Black Dress came the black dress. Although I use the phrase "the color black," it is technically not a color at all but rather the absence of any color (red, green, blue).

Nevertheless, to the human eye, black is not merely achromatic. In the palette of major painters and clothing designers, black became a "color" in its own right. Because of the great wealth derived from its American Empire, Spain dominated Europe in the 16th century politically and culturally. From 1550 to 1600, the severe fashions of the Spanish court under Philip II reigned supreme everywhere except in France. Black garments were worn for the most formal occasions. To this solemn color, there adhered a certain austere and dignified beauty that was continually rediscovered over the following centuries. Painting played a major role in the rediscovery of black as the essential color of fashion, as the great French painters of the 19th century documented the changing role of black in women's fashion. In the 1820s Eugene Delacroix explored the contradictions of black, using it as a background to create a melancholy mise en scène. His vision of painting as theatre influenced all the arts. The poets Stéphane Mallarmé and Charles Baudelaire were fascinated by the way fashion and painting influenced each other. Painting took high fashion as a prime subject matter.

Major couturiers, for their part, were influenced by how the great French painters handled color and texture in their work. The painter Edouard Manet's trademark was the particularity of his blacks. His friends recognized that the use of black in his Spanish canvases was a proclamation of modernity, an artistic revanchism that rejected Baudelaire's espousal of colorism. Mallarmé felt the color black perfectly met the requirements of modern dress: "I do not believe it is possible to be otherwise than surprised by the delicious range provided by the blacks..." Black had long been associated with disaster, mourning, or sanctity. Because this color was embraced as the essential medium for visual reproduction (engravings, prints, and photographs), the ancient fixed role of black was tempered to allow its use in ordinary life. Baudelaire addressed the paradox of wearing a black frock coat for everyday use: "We are all attending one funeral or another." Borrowing from photography after 1850, painters used black to habituate the viewer to the effects of a meeting of light and texture. Referring to this relationship, Manet noted Leonardo da Vinci's advice to a disciple to closely observe how faces changed at dusk.

Likewise, the texture of clothing takes on the role of skin in a painting and thus teaches the painter a lesson. Manet used clothing (theatrical and bullfight costumes) imported from Spain to understand how to paint black. He found that black fabrics absorbed and reflected light in an unpredictable way, depending on how the surface refracts artificial light. Although light is continually swallowed by achromatic black, it nevertheless attracts and holds the eye of the viewer, whether of clothing or of painting. Manet was able to mitigate the melancholy of photography's omnipresent black by providing a graduated, textured intensity that makes the colors vibrate. Baudelaire's judgment was on the mark: Manet's work gave a face to fashion. The color black became linked with mystery and elegance. In 1881 the American painter John Singer Sargent met Madame Gautreau in Paris society. He became fascinated with her languid beauty and her mode of dress, which seemed ahead of her time. She agreed to sit for a portrait (below), which he titled "Madame X" (Metropolitan Museum of Art). The painting, perhaps Sargent's best work, was accepted for the Salon of 1884.

To his shock and consternation, the painting became an instant scandal, viewed as salacious because of the sexual suggestiveness of her pose and the revealing nature of the black dress. So often in the history of fashion it has been how a garment is worn that matters most. Likewise, the modern LBD partakes of the chameleon character that black confers. The versatile LBD can be can be dressed up or down. A simple black cocktail dress can be turned into an evening dress with diamond accessories, stilettos, and long gloves; or, when combined with a black suit jacket, demure accessories, and simple pumps, the same dress can be worn for a daytime business meeting. In 1900 black and mauve were the defining colors of high fashion. White briefly reappeared as the dominant color in women's clothing. Then in 1909 the taste for bold, clashing colors returned when the Ballets Russes brought Orientalism to the West. Black regained dominance in early 1920s. By the late 1920s, the color black—associated with dignity, mystery, and elegance—had regained dominance in women's fashion.

Finally, Coco Chanel's little black dress (1926) became the archetype of black as the color of high fashion. Give the color black much of the credit for the timeless quality of the LBD. Unlike other colors that have their place in the sun for a few years, black is never dated or out of fashion. Black is the color of the moment today as it was in 1560. In December 2006, the best-known version of the LBD, the Givenchy worn by Audrey Hepburn in Breakfast at Tiffany's, was sold at auction for over $800,000. The LBD has been a staple for celebrities in the post-WWII period. Think of Julia Roberts in her vintage Valentino on the red carpet. Legendary model Kate Moss has relied most of all on the LBD—backstage; on the red carpet; or for a night on the town. Vintage Textile has sold a sexy LBD to Angelina Jolie. Coco Chanel's "little black dress" of the 1920s is still the epitome of simple elegance. Copyright © 2007-2017, Linda Ames. All rights reserved.

Question: Who invented the original 'little black dress'?
Answer: COCO CHANEL